Leader:

The 5th North American

(Austria)

James Word
Senior Assistant:
TAKETINA

Reinhard Flatischler
Rhythm Teacher Training 2015 2017
 Content

1. The TaKeTiNa Rhythm Process 5

2. TaKeTiNa Today 6

3. TaKeTiNa Teacher Certification Program 7

4. Training Leader and Assistant 8

5. Is the TaKeTiNa Rhythm Teacher Training for you? 10

TaKeTiNa 6. The Training Curriculum 13

is one of the most efficient learning methods 7. Drums and Percussion Instruments 17
available today. 8. Organization, Training Location and Finances 20
is a musical group process that works equally
for professional musicians and beginners. 9 Application, Introduction-Workshop, Enrollment 21
develops rhythmic competence and musical 10. Dates, Application Timeline and Summary 22
creativity in all styles of music.
is currently used in various forms of therapy.
has applications and benefits for health and
wellness that have been studied by scientists
and physicians at three European universities.

For more information visit: www.taketina.com

 1. The TaKeTiNa Rhythm Process

TaKeTiNa is a unique process capable of activating human and musical potential through
rhythm. It is a path in which musical learning always goes hand in hand with personal
development.

The TaKeTiNa Rhythm Process helps to develop:

profound rhythmic consciousness.
increased competence in playing drums and percussion instruments.
a deep connection to your singing voice.
foundation for improvisation and composition.
real leadership and the ability to facilitate a complex musical group process.
enter a state of deep relaxation.
presence and a state of inner silence.
stay focused for exceptionally long periods.
deal creatively and effectively with chaotic phases.
lessen your anxiety about mistakes and thus, help you make fewer mistakes.

TaKeTiNa enables people to absorb, under-
stand, and learn in the most natural manner.
Instead of teaching rhythmic patterns from an
intellectual or theoretical base, TaKeTiNa di-
rectly guides participants to experience primal
rhythmic movements anchored in the sensory-
motor system of every human being. This rhyth-
mic foundation expresses itself through music
in every culture.
In TaKeTiNa, the body is the main instrument.
Using the voice, claps and steps, participants
are guided into three different rhythmic layers
simultaneously. A surdo (bass drum) rhythm
stabilises the steps. The claps mark a different
rhythm and the overlaid call-response singing
in ever-changing rhythms leads participants to
fall out, and fall back into rhythm. This process
allows action and surrender to merge: I play
and it grooves come together in an experience
that is direct, intense and lasting.

4 5
2. TaKeTiNa Today
Today TaKeTiNa is successfully used by more than
200 certified TaKeTiNa rhythm teachers in music
universities, rehabilitation and psychotherapeu-
tic clinics, corporate training programs, theatre
schools and elementary schools worldwide.
Scientific research has substantiated that TaKeTiNa
can lead to:
profound states of relaxation by stimulating
heart rate variability.
the co-operation/networking of the two brain
hemispheres.
This research was conducted 2008-2012 with the fol-
lowing European scientists and physicians
Dr. A. Lohninger, Autonom Health GmbH,
www.autonomhealth.com
Univ-Prof.Dr. Klaus Felix Laczika, Medical University
Vienna Dr. med. Michael A. berall, Medical Director,
Institute for Neurosciences, Algesiology and Pediatrics
Dr. med. Gerhard Mller-Schwefe,
President, German Society for Paittherapy
Research published at www.taketina.com, awaiting fur-
ther publication in 2014
6 7
Ever since 1984, TaKeTiNa Rhythm Teacher Train-
ing has been conducted in small groups, allowing
the most intensive learning process possible.
Participants in the 2015-2017 training will be the 5th
cohort to join a growing field of TaKeTiNa teach-
ers in North America. It will be the first time the
training has been offered on the east coast. Dont
miss this one-time opportunity! broader leadership and musical skills.
For information about current TaKeTiNa events,
trainings, workshops and research conducted by
the Flatischlers, please visit: www.taketina.com
For information about the activities of certified
TaKeTiNa Rhythm Teachers please visit:
www.taketina.net (Europe)
www.taketina.org (North America)
www.taketina.au (Australia)
3. TaKeTiNa Teacher Certification Program
In TaKeTiNa, musical and personal evolution are
intimately connected. To lead a group TaKeTiNa
process, a facilitator needs a variety of skills in
different realms, operating simultaneously. After
building proficiency in leading the TaKeTiNa
process during the Basic Training, teachers may
choose to continue through several more cer-
tification levels, which each add successively
basic TaKeTiNa Rhythm Teacher Training
This training prepares participants to facilitate
an effective TaKeTaNa group process, with
responsible leadership and competence. It
spans three years and comprises 84 training
days (two 14-day training sets each year). The
training concludes with each participant lead-
ing a public TaKeTiNa circle to demonstrate
Basic Teacher proficiency.
ADVANCED TAKETINA RHYTHM TEACHER
TRAINING
This training extends what was learned in the
Basic Teacher Training. It prepares the stu-
dent to take the TaKeTiNa rhythm process into
universities, schools, conventions, and other
large group settings. The training is conducted
over 28 days, split into two or three sets. It
concludes with the student leading a one-day
public workshop, and giving a separate lecture
on particular working methods and effects of
the TaKeTiNa process.
SENIOR TAKETINA RHYTHM TEACHER TRAINING
This is the capstone TaKeTiNa teacher train-
ing. It guides students towards embodying the
TaKeTiNa process in a full and complete way,
and responding with utmost reliance to most
any situation that would arise in a TaKeTiNa
circle. The training is conducted in 6 sets, over
a 3-year period, the world over. The training
concludes with the student leading an entire
3-day workshop, and offering a public perform-
ance, demonstrating accomplishment with
voice, drums and other percussion.
MASTER TAKETINA TEACHER TRAINING
This training prepares and qualifies participants to
provide TaKeTiNa teacher trainings to others. Can-
didates prepare through apprenticing as teaching
assistants, to Reinhard Flatischler, during a mini-
mum of two TaKeTiNa Basic Teacher training sets.
4. Training Leader and Assistant
Reinhard Flatischler
Musician, Composer, Founder of the
TaKeTiNa process, Training Leader
Born in Vienna, July 1950
P iano concert diploma at the Vienna University of Music
under Prof. Bruno Seidelhofer
M  ore than 15 years of continous drumstudies with master-
drummers in Asia, Africa and Latin America
F ounder and composer of MegaDrums, a musicgroup that
includes Airto Moreira, Zakir Hussain, Glen Velez, Leon-
ard Eto (KODO), Milton Cardona and Steven Kent amonst
others.
M  ember of the Scientific Commitee in the International
Society for Music in Medicine
F ounder of the project TaKeTiNa and Paintherapy that is
hosted by the German Socity for Paintherapy
M  ember of the Society for Chronobiological Research
Vienna
F latischlers award winning CDs are amongst the best-
selling in the field of percussion
F latischler book, The Forgotten Power of Rhythm is con-
sidered a standard work in music literature.
8 9
James Word
Senior-TaKeTiNa-Rhythm-Teacher
in Master training
Holds a degree in psychology from the University of
California Berkeley, where he focused on Buddhist psycho
logy, dreamwork, and musical perception
Studied African drumming for several years with S. Kwaku
Daddy
Resided for two years at Kanzeon Zen Center, where he
studied and trained with Zen Master Genpo Roshi, founder
of the Big Mind, Big Heart process, and Tenkei Roshi
(then Tenkei Sensei), abbot of Zen River Temple in North-
ern Holland
Has been a regular guest lecturer at the UC Berkeley and
currently teaches the Rhythm and Sound course at The
Sound and Consciousness Institute in San Francisco,
California.
Founding member of the North American TaKeTiNa As-
sociation. He has brought TaKeTiNa to companies and
institutions like REMO, The American Music Therapy As-
sociation, and The San Francisco Conservatory of Music
Has facilitated international workshops in France, Germa-
ny, Austria, Australia and regularly offers classes, work-
shops, and private trainings in the San Francisco Bay Area
5. Is the TaKeTiNa Rhythm Teacher Training for you
5.1 Recommendation
This training uses rhythm to stretch many realms
of human potential. It is particularly recom-
mended for musicians, dancers, actors, educa-
tors, social workers, therapists, healing arts
professionals, life and business coaches, and
corporate trainers.
5.2. prerequisite
Although no musical skills are required, all ap-
plicants should have:
some basic knowledge in music theory.
participated in at least one TaKeTiNa workshop.
the intention to work with the TaKeTiNa pro
cess after the training.
some experience in meditation and
self-awareness.
10
5.3. Motivation
For everyone involved, the training implies a
lot of inner and outer work. The intense immer-
sion in rhythm creates an expanded awareness,
which is not only the prerequisite to lead a group
through the TaKeTiNa process but also promotes
personal growth. Everyone intending to partici-
pate in the training should have developed the
following qualities:
Self-motivation: the ability to continue the cho-
sen path independently, especially when facing
difficulties.
Self-responsibility: the ability to respect ex-
isting limitations and the curiosity to expand
beyond those limitations.
Curiosity and positive regard for other human
beings.
5.4 Motivation for daily practice 5.6. Qualification / Certification
The TaKeTiNa Rhythm Teacher Training is a The TaKeTiNa Rhythm Teacher Training
comprehensive, professional training that will concludes with a qualification-set, in which
require regular practice in order to master the each participant will guide beginners through a
necessary skills. Applicants should be clear TaKeTiNa process for 2 1/2 hours.
about their motivations and their ability to Every participant receives detailed feedback on
practice regularly. From the second training-set his/her qualification set. Successful participants
onwards, participants will need to work with a receive certification. Anyone who is not able or
practice group at their home location to prac- willing to build an adequate skill level during the
tice various skills. training may choose to do the qualification-set
during any other TaKeTiNa Supervision.
5.5 Training Goals
The goal of the TaKeTiNa Rhythm Teacher Train-
ing is to enable each participant to effectively,
joyfully and successfully lead groups with the
TaKeTiNa Process. The training will provide par-
ticipants with the following skills:
Music: playing drums and percussion instru-
ments at a high level.
Leadership: leading TaKeTiNa rhythm work-
shops effectively, helping people to overcome
their personal limitations and develop intui-
tion, creativity and presence.
Knowledge: competence in knowing the effects
of rhythmic phenomena and their practical
applications.
11
6. The Training Curriculum

Training set #1 Training set #3

Berimbau skills necessary for the TaKeTiNa
process
Voice training: Developing a resonant voice in
speaking and singing. Overtone - singing and
basic interval training.
The simultaneity of drumming and storytelling
- learning to lead while playing
Understanding and implementing the princi-
ples of the TaKeTiNa process
Sensomotoric training - entrainment of primal
rhythmic movements: Offbeats, Cycles and
Subdivisions.
Independence and coordination of Left-Right
arm movements with Grello Caxixi Exercise.
Basics in body reading during the TaKeTiNa
Process.
Selecting the drum for the drum opening
(Changgo or Conga)
Starting to lead parts of the TaKeTiNa Process
under direct guidance - Structure Evolution,
Field Stabilization. Participants start practice-
groups in the home location.
Reading the body language of people attend-
ing the process.
Berimbau playing in faster tempo with more
complex structures.
Surdo: playing in faster tempo with more com-
plex structures, the interplay of leader and
Surdoplayer.
Drum classes: simple improvisation, creating a
simple composition with rhythm elements and
the voice, practice in drum ensembles.
Voice training: learning all Matrixcalls while
playing Berimbau, finding scales and melodies
for the Call Evolution. Learning to find a basic
tone.

Training set #2

Surdo skills necessary for the TaKeTiNa pro

cess - Various Surdo Melodies, Energywork,
various ways to accompany the process.
Initiating the drum - Changgo / Conga basic
skills for the drum opening
Deepening berimbau skills, playing faster and
learning more complex rhythms
Learning the Call-Evolution with stabalizing
and destabalizing calls: Mantra, Matrix-call
and Energylines
Voice training: intonation, interval and singing
scales

13
Training set #4
The Art of Induction (preparing the group for the
process)
Berimbau: leading the structure - opening with
berimbau.
Surdo: Learning the turning movements, left-right
independence and the interplay between leader
and surdo player. Deepening the skills involved in
speaking to the group while playing the drum.
Dynamic sets - a way of learning to stay fully
present while leading the group process. In
a secure setting, participants will encounter
personal behaviour patterns that hinder the
process. Contracting and dissolving dynam-
ics of the leader will surface. A lack of presence
is mirrored through rhythm and can be trans-
formed by rhythm. Participants learn to read the
relevant signs in the field and gain competence
for responsible leadership.
Drum classes: Starting Drum Openings, putting
the principles of the drum opening into a practi-
cal context.
14
Training set #5
T he Art of Induction (preparing a group for the
process) - deepening the skills.
B erimbau and Surdo: integration of skills in lead-
ing dynamic sets.
B alancing groove and tool calls in the call
- evolution.
D  ynamic sets - deepening the understanding of
the effects in of the TaKeTiNa process.
D  rum classes: Continuing drum opening sets, also
gaining strength in a guided six hour play through.
Preparation for the Qualification Set.
Training set #6
The final training set is the qualification set during
which each participant will lead an open TaKeTiNa
workshop for 2 1/2 hours. Other training partici-
pants and the leader will observe and witness the
process. Each participant will receive detailed
feedback from the group.
7. Drums and Percussion Instruments

7.1 TaKeTiNa Instruments

The art of playing Surdo and Berimbau is an integral part of leading a TaKeTiNa circle. An enormous
part of the training is dedicated to the evolution of the skills necessary and the integration of these
instruments into leading the TaKeTiNa process.

The Surdo Caxixi and Grello

The Surdo is a double headed, cylindrical bass
drum from Brazil. It not only marks the pulse
of Samba, it also represents the heartbeat
of TaKeTiNa. No other drum provides such a
steady rhythmic foundation like the pulse of a
Surdo. It accompanies and stabilises the steps
of the participants - it is the Mother Drum.
The rattle, perhaps the oldest percussion instrument
of humankind, not only marks a distinct rhythm, but
also has a powerful trance-inducing effect. The Caxixi
rattle used in the TaKeTiNa Process allows combina-
tions of accentuated and soft sounds and opens the
possibility for rhythmic structure.

While the leader plays the Surdo, he/she leads

the TaKeTiNa circle with words - speaking and
playing simultaneously, just as ancient story-
tellers have led their audiences into the simul-
taneous perception of the unequally spaced
rhythm of the words and the steady flow of the
drum rhythm.

The Grello is an iron castanet from West-Africa

that makes it possible to clap with one hand. The
combination of Grello and Caxixi open a door for
an unlimited number of rhythmic variations. Grello-
Caxixi exercises, as developed by Reinhard Flatisch-
ler are a powerful tool for developing left-right in-
dependence and coordination. As recent TaKeTiNa
research shows, these exercises trigger an intense
networking between the two brain hemispheres.

The Berimbau

Also originating form Brazil, the Berimbau is a

single-stringed music-bow that blends sound and
rhythm. It naturally supports the singing voice of
participants. Although this instrument may look
simple, it requires a complex playing technique and
provides an abundance of musical colours.

17
7.2 The Drums for the Drum Opening

Participants of the training will also learn to play Changgo

one drum of their choice: Conga or Changgo.
In the training both drums are played on a stand
or hanging on a strap, so that participants can
move freely with their feet. The goal of a drum
opening is to create a stable rhythmic foundation
for the leaders voice to improvise.
Conga / Atabaque / Kpanlogo Drum
represents the energy connecting with the earth
Origin: Africa, Cuba, Brazil
These drums are played by hand and even the
slightest change in the palm posture alters the
sound. The combination of open, bass, muffled
sounds and slaps allows musicians to create ever
changing sound-landscapes.
represents the interaction of left and right side.
Origin: Korea
The Changgo is a double-headed drum from Korea,
played in the shaman cut ceremonies. The Changgo
is played with a thin stick (Jolche) and wooden mallet
(Gungulche). It can also be played with hands.
The drum-body has an hourglass shape and the left
skin, called Kung Pyon literally means Door to the
other worlds while the right skin, call Tsche Pyon
represents the Door to the rational world and is
connected to the structuring quality of the right hand.
Playing the Changgo generates a deep understanding
of the cooperation between the two sides of the body.
Although the Changgo is a Korean drum, it represents
the archeytypal principal of a transversal drum and is
a great instrument for the drum opening.

7.3 Learning Drums with TaKeTiNa

Learning drums with TaKeTiNa involves the whole body: steps, arm movements and the voice.
This working method enables you to:
experience several different rhythms at the same time.
create musical complexity even if the hands are playing a simple rhythm. When foot movements,
hand movements and voice interact, they sound interesting and complex. Even a slight change in
one layer creates a completely new body sensation.
practice drum sounds or rhythm elements over a long period of time without getting bored.
understand how archetypal rhythmic movements are linked together in music, leading directly and from the
very beginning to the art of improvising.
19
8. Organization, Training Location and Finances
8.1 Organisation
This training is organized by Colleen Caffrey
and Amy Jackson of DrumRise, an Atlanta-based
company offering educational programs that
harness the power of rhythm to promote joy,
community connection, health and wellness.
Both Amy and Colleen are TaKeTiNa teachers
who were members of the 4th U.S. training and
are passionate about seeing the TaKeTiNa field
grow. They have extensive organizational expe-
rience, having hosted numerous international
teaching artists in Atlanta, including Reinhard
Flatischler and Guinean master drummers Ma-
mady Keta and Famoudou Konat.
Please contact DrumRise for any ques-
tions about organization, administration and
logistics.
PO Box 33054
Decatur, GA 30033
tel: 404-784-2462
email: taketina@drumrise.net
20
8.2 Training Location
All sets of the training will be held at Dahlonega Spa
Resort, in the foothills of the Blue Ridge Mountains
north of Atlanta, GA. Dahlonega Spa offers comfort-
able single or double accommodations in a serene
environment with expansive mountain views, nature
trails and an outdoor Jacuzzi. DSR serves meals
focusing on healthy, seasonal ingredients and can
accommodate special dietary requests. Dahlonega
is about 90 minutes by car from Atlantas Hartsfield-
Jackson International Airport (ATL).
www.rrresorts.com/dahlonega/
8.3 Costs of the Training
Cost of the training is $24,988, which includes
tuition, meals, and double-occupancy lodging. A
limited number of single-occupancy rooms will be
available for an additional charge on a first-come,
first serve basis. A non-refundable deposit of
$4,988 is required to complete the students en-
rollment. Payment plan and credit card payment
options are available.
8.4 Required Instruments
Instruments necessary for the training are: berimbau,
surdo, caxixi, grello, ankle bells, and either conga or
changgo, as well as appropriate mallets and sticks.
Cost for these will range from $850 to $1500, depend-
ing on the quality of the instruments. Organizers can
offer advice on purchasing instruments.
9. Application, Introduction Workshop, Enrollment
9.1 Application
All prospective students must complete an ap-
plication available at taketina.drumrise.net.
Send your application by email to the Organizers,
Amy and Colleen, who will forward it to Training
Leader, Reinhard Flatischler. A maximum of 33
students will be selected by Mr. Flatischler after
reviewing all applications and meeting each can-
didate in person at one of the required Introduc-
tion Workshops.
9.2 Required Introduction Workshop and
Information Session
All applicants must attend one of the Introduction
Workshops, offered in several North and South
American cities in 2013 and 2014.
Introduction Workshops are public TaKeTiNa
weekend workshops conducted by the Master
Teacher, Reinhard Flatischler which will include
an information session for prospective students to
learn more about the Training and for Mr. Flatis-
chler to meet the prospective students.
The list of Introduction Workshops scheduled as
of this printing is subject to change. Please see
www.taketina.com for current schedule.
Prospective students who submit their applica-
tions by August 15, 2014 will receive an invitation
to attend the September, 2014 Atlanta Introduc-
tion Workshop for a deeply discounted registra-
tion price. Fees for workshops in other cities will
be the same as for the general public; Contact the
local organizer for registration information. If you
are applying from outside the U.S. and cannot
attend any of the Introduction Workshops, please
contact the Organizers for other arrangements.
9.3 Student Acceptance and Enrollment
Agreement
Selected applicants will be sent an invitation to
participate and an Enrollment Agreement. The
Enrollment Agreement is a contract between the
participant and the organizers stating the rights
and obligations of both parties. It will remain
in effect throughout the entire training except
in cases of serious illness or death. Students
must enroll in the entire Training as a whole; it
is not possible to attend individual classes or
sets. Students choosing to enroll must send their
signed contract and tuition deposit to the organ-
izers by the Enrollment Deadline to secure their
enrollment.
9.4 W
 aiting List
Students not selected during the normal enroll-
ment period may be placed on a waiting list. If the
Training is not full after the matriculation dead-
line, applicants on the waiting list may be invited
to enroll.
21

10. dATEs, APPLIcATIoN TImELINE ANd summAry
10.1 PubLIc TAKETINA WorKshoPs 2013
Reinhard Flatischler will be on Tour in North and
South America in Fall, 2013. These public workshops
are opportunities to experience TaKeTiNa in depth
and help you decide if the Training is right for you.
Currently scheduled dates are below. But please
see www.taketina.com for up to date schedule.
October 11-13, 2013 San Francisco, CA
October 18-20, 2013 Atlanta, GA
October 25-27, 2013 Boston, MA
November 2-4, 2013 Bogot, Colombia
[also an early Introduction Workshop]
November 8-10, 2013 Sao Paulo, Brazil
[also an early Introduction Workshop]
November 15-17, 2013 Sao Paulo, Brazil
[also an early Introduction Workshop]
10.2 rEquIrEd INTroducTIoN WorKshoPs
(ATTENd 1 or morE)
November 2-4, 2013 Bogot, Colombia
November 8-10, 2013 Sao Paulo, Brazil
November 15-17, 2013 Sao Paulo, Brazil
March 7-9, 2014 Dallas, TX
September 26-28, 2014 Atlanta, GA
October 3-5, 2014 San Francisco, CA
10.3 APPLIcATIoN ProcEss TImELINE
Early Application Deadline: August 15, 2014
(Apply by this date to receive an invitation for
discounted registration at the September 26-28
Introduction Workshop in Atlanta.)
Application Deadline: October 15, 2014
22
Celebrating Our New Collaboration with TaKeTiNa and Reinhard Flatischler
Remo has been an innovator of percussion products for over 50 years and has also
been an unswerving advocate for the use of rhythm for wellness, celebration, commu-
nity building and so much more.
As a result of Reinhard Flatischlers creativity, dedication and vision, the TaKeTiNa
methodology has created wonderful outcomes for individuals and organizations for
over 40 years. Together We Move Forward In Rhythm.
Acceptance Notification: October 31, 2014
Enrollment & Deposit Deadline: November 30, 2014
Training Begins: March 3, 2015
10.4 TrAININg dATEs & schEduLE
Set 1. March 3, 2015 through March 17, 2015
Set 2. September 22, 2015 through October 6, 2015
Set 3. April 5, 2016 through April 19, 2016
Set 4. August 30, 2016 through September 13, 2016
Set 5. March 7, 2017 through March 21, 2017
Set 6. August 29, 2017 through September 12, 2017
All Training sets will begin at 8 pm on the first day
and end at 1pm on the last day.
10.5 summAry
The TaKeTiNa Rhythm Teacher training will qualify
you as a true group leader, a competent musician
and will place you firmly in an innovative area at
the intersection of music education and personal
development. A commitment to regular instrumen-
tal practice and group practice is essential. Due
to the intensity of the training, a maximum of 33
participants will be accepted.
ImPrEssum
remo.com
Publisher: Rhythm Synergy, LLC PO Box 33054, Decatur, GA 30033
Layout and graphic design: M4 Media, Mnster, Germany, www.m4media.de
Photo credits: Archive Flatischler, G. Menzel, O. Werbach
Copyright by TaKeTiNa Institute for Rhythm Education and Rhythm Research
D-82377 Penzberg, Zist 3, Germany, Europe
All rights reserved.
Its time to stop thinking of the drum as just a musical instrument. Start thinking of it as a unifying tool
for every family, a wellness tool for every retiree, and educational tool for every classroom. - Remo Belli
TAKETINA
Rhythm for Evolution

FLA 161